A white document titled "Bendigo Teachers' College Graduation Ceremony to be held at Bendigo City Hall Friday 10th December 1971". Below this is a list of the staff at the college in that year 1971 - Principal: Mr. K. G. Scarrott. Vice-Principal: Miss A. Downward. Warden for Men: Mr. F. M. Courtis. Staff - Mr. T. J. McCabe, Mr. D. O'Brien, Mr. B. I. Rollins, Mr. R. F. Colbourne, Mr. B. A. Clemson, Mr. B. T. Geary, Mr. K. C. Coles, Mrs. N. Fawdry, Mr. L. A. Hall, Mr. K. G. Harrison, Mr. B. R. Reed, Mr. J. A. White, Mr. G. L. Colson, Mr. A. D. Maltby, Mr. K. I. Clements, Mr. L. Jackman, Mr. J. Brasier, Mr. W. P. Lomas, Mr. R. P. Silverback, Mr. R. Collis, Mr. D. R. Phelan, Mr. J. J. Layther, Mr. J. P. Furnell, Mr. J. R. Goodrich, Mrs. H. A. Knox, Mr. K. A. Ryrie, Mr. A. R. McIntosh, Mr. K. W. Endersby, Mr. R. N. Bruce, Mrs. E. J. Perry, Mr. D. J. Watson, Mr. C. J. Barnes, Mr. R. J. Harris, Mr. D. A. Jobling, Mrs. S. M. Wheeler, Mrs. M. P. Hibberd, Mrs. M. M. Clemson, Mr. A. Jones, Mr. E. Coleman, Mrs. R. M. Briggs, Miss M. Gates, Mrs. B. P. Hyett, Mrs. M. J. Smith, Miss J. C. Burnett and Mrs. B. A. Layther. Associate Medical Staff Dr. B. A. Cleeve and Administrative Staff Mr. W. D. Kollie, Mrs. E. Morshead, Miss C. T. Aldridge, Miss D. Stott. Mrs. D. M. Philpott and Mrs. J. E. Scarrott. On the inside cover is the "Significance of the Ceremony" and "The College Anthem". The following page as the "Order of the Ceremony." Mr. B. A. Clemson welcomes the visitors and Mr. K. G. Scarrott gives the Principal's message to graduands. Student Representatives are presented to Mr. Mr. J. Revell by Miss A. Downward,Vice Principal. The 1968-1971 Diploma of Teaching (Primary) students and the 1970-1971 T.P.T.C. students are presented by Miss A. Downward to Dr. M. Balson. Congratulations are offered by Cr. D. Elliot, President of Strathfieldsaye Shire Cr. C. C. Rodda and the Principal of Golden Square State School Mr. R. Cordingley. The Occasional Address was given by Dr. Maurice Balson and Mr. Ian Davies concluded with the Acknowledgement. The back cover contains lists of the students receiving their Diplomas of Teaching (Primary) 1969 - 1971 - John Grant Allen, Marion D. Barbour, Marlene J. Bartlett, Jillian M. Bennett, Carol M. Bernasochi, Philip McL. Blackwood, Carmel F. Bourke, Kathryn A. Bourke, Narelle D. Carpenter, Helen C. Cowan, Margaret A. Cowie, Ronald J. Crawford, Annette M. Dodd, Athalie D. Edis, Maureen A. Farnell, Robin J. Fitzgerald, Ruth G. Freeman, Dianne D. Geddes, Meta D. Goodrich, Dennis J. B. Higgins, Kevin M. Higgins, Russell J. Honey, Marilyn L. Kay, Barry Frank Keenan, Christine J. Kennedy, Rosemary A. Kennedy, Judith Kirne, Alison J. Laws, Heather Linton, Annette M. McDonald, Geraldine Matters, Heather J. Mitchell, Christine D. Moore, Adrienne D. Nichols, Marion J. Nixon, Geraldine M. O'Brien, Patricia Maree O'Brien, Joseph Pacquola, Annette J. Parke, Sandra J. Pell, Maureen Y. Pianta, Catherine A. Polgar, Linda C. Preece, Judith M. Punch, Jennifer G. Reynard, Denise P. Ryan, Noela J. Sargent, Mrs. Brenda J. Savy, Christine M. Scholes, Geoffrey G. Scown, Beverley K. Secomb, Joan B. Segrave, John E. Sloan, David J. Snell, Julie M. Sullivan, Dorothy J. Teague, Jennifer F. Thomson, Denise A. Thornbury, Jennifer L. Trewin, Lorraine D. Walker, Edgar John Waterman, Janet E. Waterson, Jillian M. Watts, Leslie Williams and Una M. Woodcock. Trained Primary Teacher's Certificate 1970 - 1971 - Elizabeth A. H. Abbinga, Mrs. Sandra E. Banks, Henry Ward Beecher, Marjorie A. Byrne, Julie P. Carter, Pamela E. Charlton, Lorraine C. Childs, Mary J. Coughlan, Gwenda A. Colville, Elaine J. Cooper, Elizabeth Ann Corboy, Helen J. Cox, Ian R. Davis, Diane E. Edwards, Sandra J. Fitzgibbon, Ann M. Flett, Christine French, Donald Wayne Garner, Mary E. Gibbs, Pamela S. Gorey, Judith A. Grieve, Lorraine Healy, Mrs. Catherine M. Higgins, Ivan P. Honey, Jennifer M. Ibbs, Geoffrey Kerr, Robyn M. King, Christine M. Law, Mrs. Wendy E. McGinniskin, Margaret A. McMahon, Valerie P. McMaster, Mary A. McNamee, Wendy J. McNeill, Jane P. H. McPherson, Patricia Oakford, Colleen J. O'Brien, Robyn E. Onley, Eileen Joan Osborne, Mrs. Wendy A. Proud, Kristina N. Puchala, Lynette B. Rathbone, Mrs. Yvonne M. Robinson, Shane B. Rodda, David L. Rosendale, Mrs. Jan E. Scholes, Judith J.Tait, Adrienne L. Thomas, Sandra J. Turner, Rosemary D. Whalen, Sandra J. Whitmore, Jane A. Wilson and Linda O. Wilson. External Studies - The Trained Infant Teacher's Certificate was received by Sharon P. Prentice. The Diploma of Teaching ( Primary ) - Mrs. Linda E. Cameron, Neville G. Fisher, Trevor J. Hogben and Maureen L. Tobin. Trained Primary Teacher's Certificate - Valda J. Chapple, Marie K. Gread, Shirley A. Grose, Mrs. Judith J. Hocking, Michael J. Lonnie, Michael McCabe, Kevin F. McInerny and Kenneth N. Webster. Also included is an insert with a diagram of the stage plan.bendigo, education, bendigo teachers' college graduatio, la trobe university bendigo collection, collection, bendigo, education, tertiary education, graduation, graduands, students, staff, bendigo teachers' college, teaching, teachers, bendigo teachers' college staff, bendigo teachers' college students, book

Bendigo Operatic Society Programme Booklet 'Production Ánything Goes Capital Theatre Bendigo Opening, 6th April 1962. For Four Nights. Former Producer The Late Norman Lee, New Producer Miss Beatrice Oakley. Arrangement Samuel French Ltd. Lyrics & Music Cole Porter, Book By P.G. Wodehouse & Guy Bolton. Musical Numbers Include: Ï Get a Kick Out of You' Ýou're the Top', 'There'll Always Be A Lady Fair, 'Ánything Goes' 'Gypsy in Me'' Cast: Denis Cremen, John Stephens, Ferd. Lorenz, Heather Lindhe, Margery Reed, Len Carr, Fred Trewarne, Carol McKenzie, Bernice Boromeo, Max Beckwith, Peter Unmack, Daryl Walker, Ian Beckwith, Rick Perry, Victor White, Roger Sprawson, Roy Cronin, George Steele, Joan Crane, Joan Heard, Alfred Annison, Kath Alexander, Reginald Boromeo, Ray Austin, Peter Houston.Cambridge Press.clubs and associations, theatre, bendigo operatic society, https://en.wikipedia.org/wiki/anything_goes

Photo postcard with six soldiers sitting and standing around a small table with a vase of flowers in the centre. Most of them have a bottle or glass in their hand. One has his hands behind his back and he is smoking a cigar. Three others are smoking pipes. The card is addressed to Jack from Bill and dated France Aug 12th 1916.B. Guilleminot, Boespflug et C -Parismilitary, world war 1, group photo, john jones collection - soldiers, r guilleminot

Small booklet titled Mandurang School Centenary September 1977. It has a black and white picture of the school on the front cover. Mentioned in the book is the History of Mandurang State School and District, Industries, Wine, Milk, Gold, Tannery, The Look-Out, Timber, Hotels, Water Race, Floods, Post Office, Sports, Churches, Fire Brigade, List of Head Teachers 1861 - 1975, The School opens 1877 and Mothers' Club. Photos include Mr & Mrs J T Deravin Pioneer settlers of Mandurang, Deravin's Barn & Wine Cellars, Bernado Togno's Vineyard, Hargreave's Milk Cart, J Pearce & Sons Milk Delivery Bike, The Tannery, Wooden Poppet Head Tower, Kerr's Hotel, The Wine Hall (Previously Junction Hotel), Harry & Len Kofoed's Wood Trucks, Mandurang Recreation Reserve 1977, Mandurang Cricket Club (1889 or thereabouts), Methodist Church, School Pupils 1894, Early School Group, School Pupils 1960 and 1962, Working Bee before shifting School Building to it's Present Site, School Pupils 1922 and School Pupils 1977.Edwin J. Watts. Express Print, Bendigoeducation, primary, mandurang primary school no 1952, john jones collection - mandurang school centenary september 1977, edwin j watts, kevin o'brien, g pearce, j sloan, v togno, r pearce, j french, i adams, b adams, g grose, i kofoed, j pearce, f pentland, g shaw, n todd, i grose, h koefoed, m macdonald, k pearce, t french

The French Collection was donated to the Society in 2022. This collection includes documents, artworks, books, costumes and artefacts belonging to two families. A number belonged to, or were made by the grandparents of the donor: Vera May Wing and her husband Hubert Charles McDonald. [Other items belonging to Vera and Hubert are in the collections of the Australian Performing Arts Museum and Museum Victoria.] A second significant group of objects were gifts made to the donor's family by Lucy (Jean) Hornby of Queen Street, Kew whose family had been early settlers in the district.Meerschaum pipe, with fitted brown leather case. The stem of the pipe is shaped like an arm with a carved hand supporting the bowl. The pipe is believed to belong to Joseph Wing (1812-95) or John Wing (1841-1914). The pipe has been passed down through the Wing, McDonald and French families.wing family, pipes, meerschaum

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.Long black lace, floor-length evening dress extending to a short train at the back. The dress has a belt at the waist that is joined by two white metal clasps studded with diamentes. With the dress there is also a matching lace square (2017.00921) that might have been used as a mantilla or as a shawl. The dress was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. women's clothing, evening wear, evening dresses, doris bennett (nee wilmott)

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.With the black lace evening dress (2917.0093.1) there is also a matching lace square with long lace ties (2017.0093.2) that might have been used as a mantilla or as a shawl. The outfit was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. women's clothing, evening wear, shawls, lace, doris bennet (nee willmott)

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.Black silk chiffon or georgette fitted evening cape,let entirely covered in silver metal rectangles and black sequins. The cape gives the appearance of being joined at the front, however it is made in one piece. The cape has open scalloped sections bordering the lower band of silver metal rectangles. The cape was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. evening wear, capelets, doris bennett (nee wilmott), women's clothing

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).Black silk, with multi-coloured embroiderery Manton de Manila shawl. The shawl was owned and once worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. It probably dates from the 1930s.evening wear, piano shawl, manton de manila, doris bennett (nee wilmot), women's clothing

This mounted and framed photograph of a group of friends punting on the River Yarra has a number of historic and artistic associations. The photograph is primarily important as an informal photograph of the Australian baritone John Donald Mackenzie Brownlee (1900-1969), whose international career at the world's major opera houses from 1927 until his retirement in 1958 included singing at Melba's Covent Garden farewell in 1926, to recordings in the 1930s of a major series of Mozart operas in Glyndebourne Festival productions, conducted by Fritz Busch. Brownlee, born in Geelong, won the gold medal as champion vocalist at the South Street competitions in Ballarat in 1921. Moving to Paris in 1923 he began study with the French baritone, Dinh Gilly, making his operatic debut at the Trianon Lyrique in Montmartre in 1926. The most significant periods of his operatic career were with the Paris Opera from 1927 to 1936, and at the Metropolitan Opera from 1937 to 1957. After his move to Paris in 1923, he is recorded as revisiting Australia in 1928 as a member of the Melba-Williamson Company, and 24 years later in 1952. The photograph of Brownlee and the Gardners in a punt on the Yarra, while putatively dated to 1925, must be from earlier in the 1920s before his move to Paris, or later during the Melba-Williamson Company season. Before his move to Paris in 1923, Brownlee had lived in Belmont Avenue, Kew, where he must have developed a friendship with the Gardners. The photograph has additional artistic significance as it was produced at 'The Artorium', James Beament's design studio next to the Hawthorn Town Hall at 362 Burwood Road. With a home at 33 Uvadale Road (designed by Eric Nicholls, who managed the architectural practice of Walter Burley and Marion Mahony Grifffin from 1924 to 1932), Beament painted a number of significant murals for the Griffin practice, including those at the Capitol Theatre in Melbourne.A photograph of recreational activities on the River Yarra. The photograph is historically significant as a professionally produced photograph of the Australian operatic baritone John Brownlee, either before his move to Paris in 1923, or in 1928 during the Melba-Williamson Company operatic tour of Australia. The photograph has additional aesthetic significance as it was produced in James Beament's Hawthorn Studio - The Artorium - at 362 Burwood Road, next to the Hawthorn Town Hall.Framed photograph of John Duncan Brownlee, the Australian tenor, with Enid Gardner and friend in a punt on the Yarra River. Brownlee was born in Geelong but before his move to Paris in 1923, he lived for a period in Belmont Avenue, Kew. Three labels on reverse. 1. "John Duncan Brownlee, Operatic Star, originally of Geelong later resident of Kew at Belmont Av, on the pole. Also in the punt - Edith Gardner a friend. The Gardners lived on the east corner of Edgevale Rd. & Cotham. Approx. 1925." 2. "This picture is the property of Kew Historical Society 1/4/79". 3. Tel. Hawthorn 842 THE ARTORIUM ...."john brownlee (tenor), punting, recreation - yarra river (kew), james beament, the artorium -- 362 burwood road -- hawthorn (vic.)

The 'flat' hat dominated millinery design in the 1950s. Most women sourced their hats from numerous Melbourne or suburban milliners while others purchased the products of French designers. A number of Australian companies were licensed to reproduce French designs. In very rare cases, Australian women purchased directly from a French couturier's collection. This inverted flat 'saucer' hat is an example of the latter.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners. This feather hat was donated by Marion Blatchley, a resident of 7 John Street, Kew, a member of the Society, and a collector of vintage fashion items. In terms of fine workmanship, it is the highest quality hat in the collection.A fashionably flat woman’s hat with an inverted rim. The whole is covered in tiny iridescent dark feathers. A numbered label stitched to the interior of the hat identifies that the hat was made in Paris, France. The label includes a stamped number 9102 and a handwritten ‘Col 10’.Label: Stamped number 9102 and a handwritten ‘Col 10’.hats, women's clothing, costume accessories, french fashion - 1950s

This relic was brought home as a souvenir of the war by 3234 Trooper William John Ronan 13th Australian Light Horse Regiment.An historical object of spiritual significance to its owner William Ronan. Well provenanced and representative of the equipment of Australian Light Horse in World War One.Relic of Light Horse spur World War One.ronan, 13th, light horse, world war one, wwi, france

433, artspace exhibitors downstairs eddie dix & sharon chang & jan bottcher & ann martin & sue norris & jaclyn wong, artspace exhibitor upstairs susan garrett, artspace curator - teresa schipano, madame pernelle played by catherine christensen, monsieur orgon played by jim thomson, elmire played by veneita macken, damis played by broderisck mcdonald, mariane played by emma warner collins, valere plated by alexander dimitrovski, cleante played by sam howard, tartuffe played by chris mclean, dorine played by maree barnett, officer played by david ruunnalls, monsieur loyal/laurent played by laurie jezard, flipote played by rebecca bassett, ass director liam gillespie, production coordinator tim scott, stage manager rebecca bassett, ass stage manager tamsin mackie, lightning designer craig pearcey, set designers marie mackerell & owen evans, sound design rob wanless, costumes wendy drowley, costumes assistant catherine christensen, props karen wakeham & melanie belcher, set construction: owen evans & dough mcnaughton & brett hunt & des harris & norm munks & paddy moriarty & tim scott & bib dyers & nicholas gugel & ben chapman and htc members, set painters marie mackrell & gaye billing & mal cother, sound/lighting operators john rowe & margaret hassall, technical assistant tom agar, rehearsal prompt bobby parish, photographer david belton, program/poster design chris mclean, publicity jim thomson & toni tyers, box office toni tyers & june cherrey & jenni purdey & carol farr & brett hunt, front of house jenny gilbert and htc members, production review by ken barnes

1440 The 13th Light Horse Regiment (AIF) was raised t Broadmeadows Victoria in March 1915. Following service at Gallipoli the regiment was broken up with squadrons going to France as Divisional Cavalry Squadrons of 2nd, 4th and 5ht Divisions. The regiment was reformed as firstly 1st Anzac Corps Mounted Troops and lather Australian Corps Mounted Troops.Trooper Alfred Worfolk; 307 Trooper John LeBon; Trooper Edward Thomas WhiteBlack and white photograph of three soldiers of 13th Light Horse Regiment;. They are : Trooper Jack L ebon, Derby Tasmania; Trooper Alf Worfolk, Northcote Victoria; and Trooper Ted White, South Ballarat Victpria.

John Spencer Clough was the Head Teacher at Surrey Hills during the Depression and the Second World War years. He had a long history in the education department. He was born in Eaglehawk in 1889; married Lily Carpenter in 1915 and died in Camberwell in 1952. He served in France during the First World War. He enlisted in 1915 (SERN 5671) aged 26; occupation school teacher. Electoral rolls place him at the following places as a school teacher: 1912 - Sea View, Warragul 1913 - Leongatha 1914, 1915, 1916 - Carpendeit 1919 - Portland 1922 - Scarsdale 1925, 1926 - Werribee 1928 - Echuca 1931 - Ballarat 1935 - living Wattle Valley Road, Camberwell. At Surrey Hills he was succeeded by Mr Lewis Wheeler. The girl presenting Mr Clough with his retirement gift was Margaret Haines who made the presentation on behalf of the students. A B&W photo of an elderly gentleman surrounded by children. He is wearing a suit and tie and a girl is presenting him with what looks to be a radio. There is a chair with floral covering central to the photo and the gentleman is standing behind it. The background is consistent with a school playground.Number in pencil on the rear - SH1150surrey hills state school, surrey hills primary school, margaret haines, margaret dowsett, john clough, john spencer clough, education, schools

Although there was painting from the very early years of Australian settlement, for some time the artists experienced trouble with reproducing Australian conditions. It has taken an input of many artists from many places to form what has become "Australian Painting". A history compiled by SHHS member, Arthur Tonkin.Although there was painting from the very early years of Australian settlement, for some time the artists experienced trouble with reproducing Australian conditions. It has taken an input of many artists from many places to form what has become "Australian Painting". A history compiled by SHHS member, Arthur Tonkin.artists, (mr) theodore brooke hansen, (mr) thomas watling, j a horrocks, (mr) s t gill, (mr) conrad martens, (mr) sydney parkinson, (mr) john lewin, (mr) augustus earle, (mr) wilbraham frederick evelyn liardet, buxtons gallery, (mr) walter withers, (mr) giroloma ballatti nerli, (mr) joseph lycett, (mr) john glover, (mr) thomas bock, (mr) thomas wainwright, (mr) george french angus, (mr) william blandowski, (mr) gerard kreft, (mr) eugene von guerard, (mr) ludwig becker, (mr) william strutt, (mr) thomas clark, (mr) robert dowling, (mr) tom roberts, (mr) fred mccubbin, (mr) louis abrahams, (mr) charles condor, (mr) david davies, (mr) herbert daly, r e falls, (mr) douglas richardson

Norma Bull in a window of 'Medlow', 1920s Her brother (Ronald) Richard was a keen photographer and is believed to have taken the photographs of the family and in the grounds of 'Medlow'. Norma Catherine Bull (7 September 1906 – September 1980) was an Australian painter, printmaker and etcher best known for the paintings and sketches she made in Britain during World War II. Norma was the daughter of Richard Joseph Bull (1874-1927) and Catherine Grace Perrier (1884-1972). Her father was the Director of Bacteriology at Melbourne University. Richard and Catherine had 2 children. Norma was born in Hawthorn in 1906 and her brother Ronald Richard was born in Surrey Hills in 1912, where in 1911 Richard bought a property at 42 Warrigal Road, Surrey Hills developed by Colonel William Cairncross, known as ‘Willcyrus’ and renamed ‘Medlow’ by the Bulls. As a child, Norma was a high achiever both intellectually and artistically. She was educated at Fintona, where she matriculated as Dux of the School and winner of an exhibition in French. She won a scholarship to attend the University of Melbourne where she studied French, Zoology, Philosophy, English and History, leading to a Bachelor of Arts in 1929. Following this she studied painting and drawing at the National Gallery Art School for seven years. Whilst most of the students of the 1930s were inspired by Modernism, Norma followed more traditional styles and became known for her etchings and realistic depiction of urban scenes. Her work was strongly influenced by the conservative nature of the National Gallery Art School under Bernard Hall, and she remained a traditionalist all her life. In 1938, she was awarded the Sir John Longstaff Scholarship in Fine Art. This enabled her to travel to England to study at the Royal Academy in London. She arrived in April 1939 and after the outbreak of war, she worked as a volunteer at a First Aid Clearing Station and applied to become a war artist. In 1941, she was given a sketching permit by the War Artists Advisory Committee to record bomb damage in the Bristol area. In 1947, an exhibition of her 205 wartime works entitled “Two Hemispheres”, opened at Australia House in London. Many were acquired for major collections in England including the Victoria and Albert Museum, the Imperial War Museum and the Royal Collection. The “Two Hemispheres” exhibition toured Australia in 1948 and for over twelve months she followed Wirth’s Circus around the country, painting aspects of circus life. From then on she lived at Medlow’, From 1960 she was secretary of the Fellowship of Australian Artists. She was a finalist in the Archibald Prize on 2 occasions and is remembered through a biennial Art Prize, ‘The Norma Bull Portraiture Scholarship’ which is administered by The Victorian Artist’s Society. She continued to paint landscapes and seascapes in her traditionalist style. She had holiday homes at Anglesea and Bright. After she died in September 1980, 31 of her works were bequeathed to Bright Art Gallery. A black and white photograph of a lady holding a sun umbrella and sitting in a window frame.miss norma bull, medlow, house names, warrigal road, surrey hills, mr ronald richard bull

The rotunda was built in 1912 by Clarence Montgomery for the Surrey Hills Progress Association and the local community and dedicated to John Gray, "a highly respected and revered citizen". Surrey Hills Brass Band regularly gave concerts in the rotunda, provided music for regular 'loyal' celebrations and also for silent films held in the gardens. The rotunda was quite elevated off the ground due to the slope of the gardens and the bioscope was stored in the room underneath. This was later used as the infant welfare centre until the Progress Association built a dedicated facility for these purposes. The rotunda was demolished in 1972. Clarence Montgomery, carpenter, was living in Sunbury Crescent in 1914. By 1916 he had moved to 83 Croydon Road where he lived for the rest of his life. Clarence was born in 1869 in Taradale, son of John Montgomery and Jane Ford. He married Sarah Ann Ingram in Echuca in 1894. Their children were: 1. Annie (Mrs P Paynter) born Echuca in 1895 2. William Henry born Echuca in 1897 3. Christina Mary (Mrs F Meyers) born Echuca in 1898 4. Violet (Mrs G Ewing) born Echuca in 1902 5. Clarence George Ingram born Echuca in 1906 and died aged 7 months. Violet became a tailoress and Christina a dressmaker. William became a carpenter like his father. Sarah Ann Montgomery died at their home in June 1932 aged 62 years. Clarence died in August 1946 aged 77 years. They are buried in Box Hill Cemetery (P-EB-0020). John Gray was "actively associated with all movements for the benefit of neighbours and fellow citizens". [Quote from the official tribute on his death in 1909.] He was very active in the Surrey Hills Progress Association in the early 1900's. The rotunda built in the Surrey Gardens by the Progress Association in 1912 was dedicated to him. John Gray was born in 1861 in Eldorado. He died on 7 December 1909 in Surrey Hills and is buried in Box Hill Cemetery (M0472). He married Emma Beckett in 1888 at 'Guildford Villa' in Essex Road, the Beckett home. They are listed in both the 1903 and 1906 electoral rolls in Arundel Crescent; his occupation is given as bootmaker. The Alan Holt property register identifies this as 24 Arundel Crescent, known as 'Tumberumba'. John and Emma had a large family: (Gunner) John Robert Gray (1888, Surrey Hills - 21 June 1917, France) Benjamin Walter Gray (1890, Surrey Hills - 1949, Heidelberg) Herbert Harry Gray (1892, Surrey Hills - 1959, Queensland) William Beckett Gray (1897, Surrey Hills - 1899, Surrey Hills) Norman Douglas Gray (1901, Surrey Hills - 1947, Sydney) Evelyn Lizzie Gray (1906, Surrey Hills - 1983) Evelyn married Reginald Roberts and donated a number of photos to the collection. The donor Violet Ewing (nee Montgomery) was Clarence's daughter. She married George Isaac Henry Ewing (blacksmith) in 1934. They inherited the family home at 83 Croydon Road. Although constructed 5 years after their opening, this rotunda was a central feature of the Surrey Gardens which was planted to a design adapted from one suggested by the renowned landscape gardener and botanist William Robert Guilfoyle (1840-1912). Rotundas were a key feature of many late nineteenth and early twentieth century public parks. This particular rotunda was notable for the Chinoiserie influence reflected in its roof. Surrey Gardens are now regarded as one of the City of Boroondara's heritage gardens and this image is significant as evidence of the design of the rotunda which is no longer extant. It is also significant as evidence of the extent of the role of the Surrey Hills Progress Association in the provision of public facilities. A black and white photo of an octagonal rotunda situated within Surrey Gardens taken from the perspective of the main entrance. It is a largely wooden structure with a domed chinoiserie-style roof. The rotunda is enclosed by established gardens. There are 4 people in the photo, with 2 women standing on the steps at the rotunda's entrance. A man and a young person are seated within the rotunda. It has 8 support pillars, which are open with balustrades to 7 sides.rotundas, surrey gardens, union road, surrey hills progress association, surrey hills brass band, parks and reserves, 1925, john gray, clarence montgomery, box hill cemetery, cinema, john gray memorial rotunda, bandstands

John Gray was "actively associated with all movements for the benefit of neighbours and fellow citizens". [Quote from the official tribute on his death in 1909.] He was very active in the Surrey Hills Progress Association in the early 1900's. The rotunda built in the Surrey Gardens by the Progress Association in 1912 was dedicated to him. John Gray was born in 1861 in Eldorado. He died on 7 December 1909 in Surrey Hills and is buried in Box Hill Cemetery (M0472). He married Emma Beckett in 1888 at 'Guildford Villa' in Essex Road, the Beckett home. They are listed in both the 1903 and 1906 electoral rolls in Arundel Crescent; his occupation is given as bootmaker. The Alan Holt property register identifies this as 24 Arundel Crescent, known as 'Tumberumba'. John and Emma had a large family: (Gunner) John Robert Gray (1888, Surrey Hills - 21 June 1917, France) Benjamin Walter Gray (1890, Surrey Hills - 1949, Heidelberg) Herbert Harry Gray (1892, Surrey Hills - 1959, Queensland) William Beckett Gray (1897, Surrey Hills - 1899, Surrey Hills) Norman Douglas Gray (1901, Surrey Hills - 1947, Sydney) Evelyn Lizzie Gray (1906, Surrey Hills - 1983) Evelyn married Reginald Roberts and was the donor of this photo. Black and white portrait photo of John Gray shows a well-dressed, bearded gentleman with a receeding hairline.surrey hills progress association, surrey gardens, surrey gardens rotunda, john gray, john gray memorial rotunda, arundel crescent, box hill cemetery

Blanket label from the RSS Mill, Geelong for the John Monash rug.RSS Mill rug label from the John Monash rug.THE GEELONG R.S.&S. WOOLLEN MILLS / PURE / WOOL / THE / John Monash / RUGworld war i, returned soldiers and sailors mill, label, 1918: australians in france - exhibition (19/02/2000 - 30/04/2000) logo merino: sheep in australian art and design - exhibition (29/07/2000 - 04/02/2001), monash, lt gen. sir john gcmg, kcb, vd

Commemorative, souvenir booklet of the visit to the RSS Mills by HRH Prince Henry, Duke of Gloucester on Saturday, 3rd November 1934. HRH stayed at 'Ercildoune' at Burrumbeet, Victoria, home of H. Alan Currie, MLC, and a merino stud containing descendents of the historic King George III flock. HRH sheared a sheep during his stay, and the fleece was taken to the RSS Mill where HRH later visited to see it being made into a Royal and Hunting Stewart tartan travelling rug.WITH THE COMPLIMENTS / OF THE DIRECTORATE OF / THE GEELONG RETURNED / SOLDIERS' WOOLLEN MILLS / GEELONG / VICTORIA, AUS., / NOVEMBER, 1934royal visits, textile mills history, merino sheep history, textile mills, returned soldiers and sailors mill, 1918: australians in france - exhibition (19/02/2000 - 30/04/2000), fairnie, mr edward john - returned soldiers and sailors mill schofield, mr albert m.b.e. - returned soldiers and sailors mill currie, hon. h. alan m.l.c., ercildoune stud, burrumbeet, textile mills - history, merino sheep - history

This dress was worn by Brighton model Coral Triplett when she married John Knowles at St John's Church, Toorak, on 18 June 1966. Made from beaded wool lace, it was commissioned by the Australian Wool Board for the Gown of the Year competition and made by Jinoel, a high-end Melbourne fashion house run by husband and wife team Jill and Noel Kemmelfield.White French wool lace wedding gown with low neckline and high empire waist. Bodice embroidered with beads.wedding dress, 1960s, coral triplett, coral knowles, john knowles, jinoel, australian wool board, gown of the year, wool lace

These shoes were worn by Emily Cock (nee Smith), the daughter of wealthy early settler John Matthew Smith. From 1856 until 1931 the Smiths lived at 'Castlefield', a mansion on a vast estate that at one time stretched along South Road from Bluff Road to Hampton Street. The land was gradually subdivided, and the house is now a part of Haileybury College. Julien Mayer was a French ladies shoemaker and prolific exporter who advertised his successes on the shoes themselves by stamping the soles with details of the prizes he had won.Pair of black kid leather shoes with low block heel, decorated with pink silk, cut-away applique and embroidery. Pink bow with metal clasp on one shoe; missing from the other. Edged with pink silk ribbon binding, largely deteriorated.Sole embossed with "MAYER / Julien / à Paris", in addition to tamped with three small medallions proclaiming the awards the shoemaker won in London in 1862, Porto in 1865 and Paris in 1867. Handwritten in interior sole of T0124.2 in pencil: "Emily Smith / Castlefield"emily smith, castlefield, shoes, 1860s, applique, embroidery, julien mayer

This item was inherited from the donor's father, René Dupuche. John Dupuche, writes: This magnifying glass was used to remove the burrs and thorns that wool-buyers tended to get in their fingers when examining bales of wool. The open end was placed on the finger since the thorn was sometimes buried under the skin. The buyer looked through the magnifying glass and with tweezers or a pin removed the thorn which had rendered the finger inoperative. The wool-buyers needed the sensitivity of their fingers to appraise the suitability of the wool, as buyers had for centuries past, measuring the length of the staple, feeling and counting the crimps in the fibre, its finesse, softness, elasticity and strength, assessing the colour, watching for extraneous matter such as dust or seeds which would not be welcome by manufacturers half-way across the world. Their skills took years to acquire. Knowledgeable buyers were invaluable to their employers, since they were able to evaluate to the last percentage the yield of a bale. My father, René Dupuche, was the ‘principal buyer’ from 1927-1966 in Victoria, South Australia and Tasmania for the international wool company ‘Masurel Fils’ which was one of the largest wool businesses in Europe. It was based in the north of France, in Tourcoing, one of the major wool centres of the world. He was sent to Australia as a young man at the age of 23 and took part in the ‘golden era’ of wool in Australia, and the eventual replacement of hands-on appraisal by ‘core-testing’. Masurel Fils was one of the dozens of French and Belgian firms operating in Australia. These men from Flanders enjoyed a cosmopolitan society augmented by diplomats, European bankers and shipping-line executives for various countries and a handful of scientists and academics.Small black metal magnifying lens with three fold design and two hinges. One panel contains a circular glass lens, the centre panel has a circular hole, and the third panel has a square hole with three lines on each side.wool buyer, magnifying glass, magnifying lens, burrs, rené dupuche, john dupuche, migrants, masurel fils, french, belgian, flanders, working life, sheep industry, wool industry, agriculture

Gwyn HANSSEN PIGGOT (1935-11.07.2013) Born Ballarat Gwyn Hanssen Piggot completed a Bachelor of Fine Arts at Melbourne University in 1954. She spent three years apprenticed to Ivan McMeekin at Sturt Pottery, Mittagong, New South Wales. Between 1958 and 1965 Gwyn Hanssen Piggot worked at various potteries in the United Kingdom, including Winchcombe Pottery in Gloucestershire, Leach Pottery at St Ives, and Wenford Bridge Pottery and Aldermaston Pottery in Berkshire. In 1960 she established her own studio in London. The essence of her work is purity, simplicity and form. She worked with porcelain for strength and for its translucent nature, and fired with wood to add a dine ash bloom to glazes. In 1992 Gwyn Hanssen-Piggott visited the Ballarat School of Mines Ceramics students, under the direction if lecturers Neville French and Prue Venables In 1994 she was artist in residence at the Ballarat School of Mines for six months. Gwyn Hanson Piggott received the Order of Australia Medal in 2002. Born Gwynion Lawrie John at Ballarat on 01 January 1935, Gwyn Hanssen Pigott died in London on 11 July 2018 London where she was for a solo exhibition of her new work. This item was purchased by the Ballarat University College Acquisition Committee. It is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. A bowl by internationally renowned ceramicist Gwyn Hanssen-Piggott. Photograph: HStudioart, artwork, ceramics, bowl, ballarat, gwynn hanssen piggot

Balang [John MAWURNDJUL] (1952 - ) Born Mumeka, Northern Territory Country: Milmilngkan, West Arnham Land, Northern Territory Clan: Na-Kurulk Language Group: Kunwinjku Location: Milmilngkan John Mawurndjul is an Australian indigenous artist. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory. Growing up John had only occasional contact with non-indigenous people and culture. He was tutored in rarrk, a traditional painting technique using fine cross hatching and infill, working on small barks. During the 1980s he started producing larger and more complex works. The artist has painted 'Wayarra', a generic term which can include both malevolent spirit beings which continually inhabit certain sites or objects but can also mean the Spirit of a recently deceased person. These spirits are one of two spirits of the dead, the other being the 'Kun-malng' soul. The 'Wayarra' is the shadow or 'shade' of the dead and may take on the form of the deceased and haunt areas where the deceased recently inhabited. In order to prevent Wayarra spirits from harassing relative of the recently deceased, a smoking ceremont is performed where Ironwood leaves are burnt around the camp of the recently deceased and ochre is rubbed on all objects belonging to the deceased. Ochre may also be rubbed on vehicles, houses and trees. Some Wayarra are a particular Dreaming totem for people of certain clans. This is why many artists depict Wayarra in their bark paintings and sculptures. They are depicting clan totems particular to their lineage and which are celebrated in major regional patrimoiety ceremonies. In 1989 the work of John Mawurndjul was included in the landmark exhibition "Magiciens de la Terra' at the Centre Pompidou and Grande Halle de la Vilette in Paris, France. His works have also been exhibited in numerous solo and group exhibitions in Australia, New York, Paris and Japan. Mawurndjul is one of eight artists whose work in part of the largest inernational commission of contemporary Indigenous art from Australia at the Musee du Quai Branly, Paris. The work was exhibited in the Australian survey "John Mawurndjul: I Am The Old And The New", at the Museum of Contemporary Art, one of the 160-odd works all chosen by Mawurndjul for inclusion in the exhibition. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.This artwork was chosen by John Murwurndjul as on of around 160 works for exhibition in the 2018 Australian Survey of his work at the Museum of Contemporary Art. The artist is known for his rarrk work, which is evident in 'Female Wayarra Spirit'.Aboriginal bark painting featurung rarrk. The artwork is associated with Dilebang, a duwa moiety place that belongs to the Kurulk clan. This work is currently on loan for exhibition in 'John Mawurndjul: I am the old and the new'. The exhibition will be shown at the Museum of Contemporary Art Australia (Sydney) from 6 July – 23 September 2018, and the Art Gallery of South Australia, Adelaide from 26 October 2018 – 28 January 2019.art, artwork, john mawurndjul, aboriginal, bark painting, rarrk, wayarra, kuninjku, maningrida, loan

Sybil CRAIG (18/11/1901-09/09/1989) Born London, England Arrived Melbourne 1902 Died Melbourne, Victoria Sybil Frances Craig was a student of John Shirlow in 1920 who introduced her to French avant-garde artists such as Matisse and Gauguin. In 1924 she studied at the National Gallery of Victoria Art School. She also underook private classes with George Bellfor several months where individual expression was encouraged, and she became associated with a group of Modernist artists including Sam Atyeo. In 1945 Sybil Craig became the third woman to be appointed as an official war artist. Based in Melbourne she worked for fourth months at the Commonwealth Ordinance Factory at Maribyrnong, becoming the first female artist to paint women working in the munitions factories. In her work Craig was attracted to many changing ideas and continued to explore line, rhythm, colour, simplicity and design. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed pencil sketch.art, artwork, sybil craig, australian war artist, kitchen